audio tips

In India, most of the of events are happening indoors, and the concrete multipurpose hall is actually a nightmare for the sound engineer.

It is an undeniable fact that many of these concrete bunkers have such modest acoustics, which is actually disgusting for the sound engineering technician and a factor that takes away the fun of working.

While it scares us, the audience expects – quite rightly – a transparent, professional sound.

What to do?

Howdy SEA Fans, Welcome to another tiptuesday blog post and the topic we are discussing today will be beneficial for those who sound engineers who are doing sound setup in ca onfined atmosphere and here are some practical tips to avert the sonic disaster.

What is bad acoustics?
There are several parameters that can be used to capture the acoustics of a room.

Among the best known are the cryptic abbreviations RT60 and STI.

RT60  describes the reverberation time of a room.

This is defined as the time interval at which the sound pressure has dropped by 60 dB after the silencing of the sound source.

The Speech Transmission Index, STI for short, arranges the quality of speech transmission between 0 (obscure)  to 1 (excellent).

The problem lies in the detail as always, because the optimal RT60 and STI values are program-dependent.

Thus, a classical orchestra in a room with a long RT60 time (over two seconds) and a low ST index (below 0.5) copes much better than a rock band with PA.

The appearance of an Iron Maiden cover band in a historic concert hall thus represents a challenge in terms of sound engineering.

However, not only classical concert halls or sacred buildings but also modern multi-purpose halls often serve many purposes – but not to provide music sound with useful acoustics.

This is often the money because cost-effective construction and dry room acoustics are difficult to reconcile.

While talking one of the acoustic consultant and sound engineer here in kerala, he told that there are many big halls and sacred buildings in the state, which are not acoustic friendly and those who are gathering inside the building are not able to hear it properly.

Those who are constructing the building will be spending a huge amount for erecting the building and decorating it and a marginal amount is being spent for sound installation and acoustics and that will reflect in the overall sound output.

The reason is that most of the builders are not taking care of the acoustics part while construction. Even if the building construction is acoustically perfect the sound will not be audible if the audio setup is imperfect as room acoustics was not taken into consideration while setting up.

Buildings made of concrete and glass, in which walls and ceilings are at right angles to each other, can be erected quickly and cost-effectively.

The fact that you create spaces that have virtually no sound-absorbing surfaces and throw sound back directly into the room, the task of the sound engineer hardly facilitates.

1. Room Acoustics

Too much reverberation sounds awful, everyone knows that.

Our goal is, therefore, to prevent as many direct reflections as possible.

You have to distinguish reflections by PA and stage.

Our work starts on stage because reflections make it hard for the musicians to hear each other clearly.

This, in turn, leads the musicians to turn their amps louder, to play louder and as a consequence demand a louder monitor sound.

So the FoH technician gives more steam to the monitors and at the same time more levels to the PA.

The result is an unnecessarily loud FoH sound that creates further reflections.

What the sound engineer can do is, the stage should generate as much direct sound as possible and as few reflections as possible.

But what to do if it sounds like the thunder dome?

A cost-effective solution is to hang the stage on the sides and over the entire width of the back with heavier material as possible.

Of course, only flammable materials may be used.

Usually, Stage Molton is used.

Even better is the stage velvet.

The heavier, the better.

In addition, you should attach the fabric with some distance from the walls and not smooth, but hang in folds.

This causes not only high but also medium frequencies to be absorbed.

Ideally, the ceiling over the stage is suspended with fabric.

Even better: professional absorbers or acoustic ceilings are used.

The latter is up to the hall operator and not the touring band.

The idea behind it is to create an open-air-like acoustics on stage.

There the backline noise literally dissolves in the air as there are no reflective room boundaries.

If you hang the stage on the sides, on the back wall and the stage cover generously with Molton, you also get a reflection poorer environment.

The musicians listen better and are not tempted to trick the room acoustics over loudness.

The FoH sound also benefits, as it provides more design options due to the quieter stage.

As a rule, it is only possible for large professional tours to hang as many reverberant surfaces in the auditorium as possible.

2. Setting up and adjusting the PA

The RT60 curve of a large church or bare concrete hall shows that the reverberation time increases with decreasing frequency.

Low-mids and basses are particularly long in the room and like to superimpose the important vocal range.

In addition, the lower the frequency, the more complex it becomes to achieve a directivity with loudspeakers.

Nevertheless, a targeted sound distribution is important, especially to effectively use the only significant large absorber surface, which is available to us.

The tops should only cover the public area and not encourage walls or ceilings.

The easiest way to do this is with a flown PA, with the top parts or line array aligned to the audience area.

If this is not an option, speakers or tiltable stirrups are recommended for the tops.

Subwoofer, however, reduces it to a minimum and works best with a directed array.

With a cardioid setup, you can compensate for the bass on stage.

A tactic of small steps. You should be cautious with extreme system equalization, especially if the hall is empty during the sound check.

Overpowering room modes can be lowered with a sum EQ in the sum, beyond that it becomes difficult.

Of course, it would be nice if a bad room acoustics could be straightened out with the EQ.

But that’s just treating the symptoms, not the cause.

In addition, the sound at the FoH position may be improved by massive EQ use, but if one leaves his mixing port, one often discovers that too many frequencies are missing in the near field of the PA.

soundman behind a mixer at concert

3. Mix Backward

Backward is the new forward, at least when mixing in acoustically difficult spaces.

The main problem is to make a not too loud mix that still has an acceptable definition.

And that stands and falls with the singing.

If this is not understandable, it usually does not take long until one is allowed to answer questions and answers at FoH-Platz.

Therefore, it makes sense to start the soundcheck with the vocals.

We need a vocal sound that is understandable and sufficiently loud for each genre.

With extremely poor acoustics, the telephone receiver sound is often the last resort.

One generously uses the low-cut (like up to 200 Hz) and turns the hi-cut (up to 9 kHz) so far in that the vocals just do not sound too dull.

Then you build the band around the vocals.

Very important: once we have checked the vocals, we leave the vocal microphones open as we level the rest of the band.

The crosstalk in the vocal microphones decides whether we need to optimize the band or stage setup.

A look into the dynamics section is also helpful.

DJs often find it easier to offer a transparent sound in difficult rooms than a band.

This is because the finished music was mostly compressed and has little residual dynamics.

Thus, there is hardly a place where a snare or vocals prominent from the song.

But precisely these impulses sustainably stimulate an acoustically problematic space.

It creates reflections that mix with the direct sound and thus worsen the sound.

4. What the band can do?

The biggest influence on the sound are the performers.

Arrangement and tempo of the songs also have a not inconsiderable part in the good sound.

Some bands shine in a reverberant arena with good sound, others not.

Since large rooms in the bass range are sometimes faded out over several seconds, they are the natural enemy of metal bands with consistent double-bass attacks.

The song selection can influence the sound.

“More ballads, fewer ball pieces” is not a bad idea.

In addition, the FoH man is happy about the lowest possible stage volume. Because: less crosstalk = less room excitation.

So rather use in-ear monitoring as floor wedges and put plexiglass discs in front of the drum set.

You can turn over guitar boxes or combos and let them shine in the backdrop instead of in the audience.

A Kemper amp or Axefx is often a better choice than a full stack from Marshall.

Of course, that’s what the musician has to decide.

After all, the listeners want to hear the typical sound of the band.

Therefore, the tips and tricks presented here are to be understood as a suggestion for an emergency.

Hope you have found the tips useful and don’t forget to share your perspective on the topic as a comment below.

We are looking forward to hearing from you.

Happy Sound Engineering !!!

audio tips

There are actors who, after many years in front of the camera, also want to prove themselves at the theater. The job is the same, but the conditions sometimes completely different. While you can easily repeat a failed take in front of the camera, a hang-up in the theater is a real showstopper in the worst case scenario. The same applies to the sound engineering.

Howdy SEA Fans, Welcome to another tiptuesday blog post and the topic we are discussing today will be beneficial for those studio sound engineers who are planning to do the live mixing or to become a FOH Engineer. Last week we have published an article which discussed tips on starting a career in game sound design and hope you have found it interesting as well.

Let’s continue with today’s topic,.

There are colleagues who turn the knobs exclusively in the recording studio and one day receive the offer to supervise a band not only in the studio but also at concerts on the podium.

An adventure that does not necessarily have to be profitable for both parties.

Sure, the studio sound engineer knows the sounds of the band very well and also knows which microphones and effects he has used for specific sound.

But is that enough on a live construction site to guarantee a good sound?

Here are those tips for studio sound engineers who dare to go live for the first time.

Work with the room acoustics
“The first time you will not forget”, which also applies to the studio technician who will mix for the first time a band in a concrete (modern multi-purpose hall).

“Has the reverb unit not been muted?”, Some studio co-workers may have asked themselves during the soundcheck.

In the studio, you work in acoustically optimized rooms.

Dry acoustics, a smooth decay of frequencies, absorption and diffusion make listening and precise mixing comparatively easy. At least, it’s much easier than amplifying a band over a PA in an acoustically difficult room.

You can not interfere with poor room acoustics.

You can only try to live with it.

Say: If the hall is particularly “reverberant”, then the reverbs stay off.

What good is it if the vocal hall settings of the last studio production only make the singing at the concert even more incomprehensible?

Mix in multitask mode
In the studio, the sound engineer usually only looks after a mix.

Either the headphone mix of the musician or you mix the overall result.

If the band plays live, many professional studios have their own mix systems for the musicians.

This is also legitimate because as a studio sound engineer you should always have the main focus on the performance and quality of the signals being recorded.

The live world is often different. If the monitor mix from the FoH, so you have to familiarize yourself with the idea that in addition to the front mix still some monitor mix for the musicians.

All these mixes are important and have a direct influence on the success of a concert.

Faster workflow
How do experienced live sound engineers recognize a studio colleague? If after fifteen minutes soundcheck is still screwed to the bass drum sound.

In Live there are no hours of trying out.

One should put the perfectionism out of the studio and fast. Otherwise, festival gigs could mutate into a nightmare experience with a 15-minute break.

The right volume
Incidentally, this point also applies to amateur sound engineers who are allowed to mix a big show on a fat system for the first time.

The fact is: you do not have to operate every PA at the limit.

Large systems are therefore generously dimensioned to provide comfortable headroom for sporadic peaks.

Without experience, it is difficult to properly estimate the volume of a large PA system.

Especially since professional systems have no problem with low-distortion and low-distortion reproduction at high levels.

As a studio technician is, however, the current massively compressed “In your face Sound” from the studio used and it is close to wanting to convey this listening experience on the volume.

Just look at the SPL meter now and then.

Caution with the duo “Compressor & Limiter”
The sound of modern rock and pop music is strongly influenced by the massive use of Dynamic Limiters, Compressors, Saturators, Clippers, etc.

Live can be the same mix technique but powerful backfire. Too much compression and limiting can make a mix seem ridiculous and lifeless.

The deliberate distortion of signal sources can in the worst case even end in a feedback inferno.

But the crassly distorted vocals give the song a fat extra boost?

Then it’s better to record these distorted vocals as backing tracks than to make them live with a distortion effect.

Distorted signals have a low dynamic range and are therefore particularly suitable for stage monitors without great premonitions

Hope you have found the tips which we have discussed in this post on the things to consider while a studio engineer transforms himself to a FOH Engineer has been useful for you.

Do share your perspective on the topic as a comment below and we are looking forward to hearing from you.

Happy Sound Engineering.

audio tips

Howdy SEA Fans, welcome to another tipTuesday blog post, a regular Tuesday blog series in which we share tips related to Sound Engineering, Music Production, Audio for Film and Broadcast Sound.

As you have read in the title of this blog post, today we are discussing various Mixing Tips for Home Recording.

What is the secret of a perfect mixdown?

It is a common question asked especially by novice sound engineers.

When the same question is asked to experienced hands, they usually ask back another question.

Is there a secret which actually exists?

An undeniable fact is that many tips can be shared with regard to the same but isn’t a specific so-called secret.

The best – and most obvious tip which everyone can give for better mixes in the home recording studio is to gain experience.

Mixing, mixing and mixing more songs helps to accomplish that 100%.

Here we have some facts for you which can act as a first aid in mixing.

You should necessarily include the listed facts in your basic repertoire.

Some of our mixing tips may seem too obvious to you, others you might not be aware of.

But all facts are shared by experienced hands and which are proven effective in daily work.

Mixing Facts for Home Recording

  • 1. Digital Clipping (distortion) should be avoided at all costs.
  • 2. Mix the cymbals more conservatively in volume.
  • 3. The kick (bass drum) should be a little bit louder compared to others.
  • 4. 95% of all vocal recordings require a de-esser and for bass, you should only compress carefully.
  • 5. For bass, you should only compress carefully. Automation is the better way to keep the volume constant.
  • 6. All plug-ins should be set with their Gain control so that pressing the Bypass will only hear a change in the sound – not in volume. This avoids the psychoacoustic effect that louder sounds sound better.
  • 7. Vocals should be conservatively compressed so that they do not mutate into a un-dynamically uniform mush.
  • 8. (Production) effects should not be exaggerated.
  • 9. Always make AB comparisons with commercial productions during mixing. Pay attention to the relationship and interplay as well as the position of the elements in the mix.
  • 10. Do not try to achieve the loudness of commercial production during mixing, this is part of the mastering.
  • 11. Work with the highest resolution available to you. The general standard is 24-bit, and 32-bit does not hurt synonymous.

Do you have a good tip for mixing songs?

Don’t hesitate! We are looking forward to your comment and the information you share as a comment will be useful for those who would like to learn more about mixing.

Happy Sound Engineering.